Book Description
graphic novel, intro Thomas Mann
Customer Reviews:
A beautiful biography --.......2006-12-18
-- or is it? Masereel's remarkable little book declines to explain itself.
These 165 expressive woodcuts present snapshots from the life of one man, or so we assume. He's not all that special - he's not a great hero, leader, or lover, though he's each at one point or another. He doesn't rise above or sink below anyone else, except in the usual ways. As with Copland's "Fanfare for the Common Man," this book celebrates the ordinary. And, when seen in such detail, the ordinary becomes quite extraordinary.
The book opens with the un-named man's arrival by train. The crowd and surroundings excite him, as does the mechanism of the train itself. Then, he's off to his new life in the city. We see that life in an uneven, even surreal pace. Masereel's vivid, expressive images hopscotch through the years of his life. Sequences of unrelated images seem to compress years into just a few pages. Other times, long sequences examine individual stories in detail - the adoption of a daughter, his happiness in her, and her final illness and death may be the most moving. It's a life-changing event, and sets the anonymous man off on a lengthy voyage, perhaps to lose himself or to find himself again. He returns to the city life, and eventually retires. The imagery changes radically at this point. It suggests Van Gogh's "Sunflowers" and "Starry Night," and also hints at Van Gogh's death.
Or maybe not. The imagery speaks volumes, but speaks a different volume to each viewer - and will probably speak differently to me when I read it again. Although it's an illustrated story, it's not for children. It is for anyone who wants to see the grandparents of today's illustrated fiction, or who appreciates woodcut in itself. This Dover edition is a beautiful reproduction, with richly saturated blacks but paper opaque enough to keep each page from bleeding through. It's easy to enjoy - so go ahead, enjoy it.
//wiredweird
Powerful Catalyst.......2000-05-23
Like the Tarot, the images here are universal and transformative. They have the additional benefit of a wry sense of humor and subtle undercurrents of a humanist sensibility.
A must have for any searcher or thinker.
Pure Inspiration.......1999-05-01
When my sister gave me this book for my birthday, it was one of the greatest presents I ever received. I was inspired, comforted, and emboldened by Masereel's wordless tale of a questing spirit. Despite the fact that I've read it literally hundreds of times (almost every night when I was working in Calcutta), I always see something new in the subtle, highly expressive woodcuts. Besides the brilliance of his technique, the story Maserel tells is exciting, complex, hilarious and moving. A treaure I wouldn't trade for practically anything.
reviewing the reviewer.......1998-08-24
I do not agree with the reviewer that wrote the following lines concerning Masereel's work: "We can no longer flip through it with the passion and mounting excitement which Mann describes in his introduction. For us, such journeys seem to end very close to where they began." This commentator seems to arrive at this statement from an overly-pessimistic outlook. Perhaps it would be better to comment merely on the genius of the work rather than make broad socialogical/philosophical judgements which are not well grounded, (or rather which are grounded in the reviewer's own pessimism). I suggest weekend outings as a alternative to staying home and reading a novel.
a transcendant, wordless novel.......1996-06-01
Frans Masereel made this "Novel in 165 Woodcuts" in 1919. With these 165 beautifully stark images, Masereel tells the story of a man's life - his love, his grief, his awe, his despair - without using a single word. "Passionate Journey" unfolds like a silent film; its attempt to communicate the reality of a lived life across boundaries of language (and literacy) gives it a quality of spiritual striving and - ultimately - transcendence. A small, luminous masterpiece.
"Look at these powerful black-and-white figures, their features etched in light and shadow. You will be captivated from beginning to end..." - Thomas Mann
Book Description
Most of us know him as one member of the band Crosby, Stills, Nash and Young, but what you may not know is that at the same time Graham Nash was rocking the world, he was also pursuing a parallel career in photography and digital imaging. Nash Editionsâthe world’s premier fine-art digital printmaking studio, which Graham co-founded with R. Mac Holbertârepresents the pinnacle of those efforts. This book uses thought-provoking essays and glorious artwork to sum up not only Nash Editions’ achievements but also the state of fine-art digital printmaking. After a brief history of printmaking, you’ll reach the heart of the book: an essay by Holbert on the genesis of Nash Editions and fine-art digital printing (which details the studio's interactions with major artists like David Hockney); an essay by MoMA consultant Henry Wilhelm (which includes a technical comparison of traditionally and digitally prepared prints); and commentary from Nash Editions artists. The book’s more than 100 illustrations include Nash Editions artwork, photos of artists in the studio, images of the machines used in digital printing, and illustrations of the proofing process.
Customer Reviews:
Inspiration Through Examples and History .......2007-06-16
With respect to the nature of this book's content and message Eric Burrows' review title hit the nail on the bean: "Not how to do it but how it happened". Don't buy this book with the expectation of learning technical tricks for printing. Rather, "Nash Editions; Photography and the Art of Digital Printing" is a retrospective look at the pathfinding inkjet printing work of Mac Holbert and Graham Nash. The book actually consists of several essays by various authors, including Mr. Archival Permanence himself, Henry Wilhelm.
I found this book to be a fascinating stroll down the relatively short (to-date) path of fine art inkjet printing. But I also found it strangely inspiring. After spending a couple of hours with this book I felt compelled to devote even more effort to my own printing.
A must have book, but ..........2007-06-14
Nash Editions deserves all credit for kick starting the fine-art/inkjet revolution but I'm not sure this book adds much to what is already well known. For sure there's lot of great images herein, but the presentation is a bit sloppy. We hear the same story over again from multiple participants and (in my copy at least) the more interesting narration from Holbert ends mid sentence. If you're interested in the history of the inkjet, this is a book you'll have to have but the lack of care/thought in its presentation does seem a little like exploitation.
High expectations.......2007-05-06
Just a few years ago the terms "art" and "inkjet print" weren't tolerated in communal context. Now, as with many media evolutions, sensibilities have to a large degree changed. One of the forces instrumental in altering the art community's entrenched mindset against the inkjet process has been a small digital fine-art inkjet photography studio by the name of Nash Editions. Through the collaborative pioneering of a handful of deep-pocketed, influential, and very determined artistic entrepreneurs, Nash Editions helped develop, refine, and establish broad acceptance for the digital fine-art inkjet printing. This is their story.
At first blush this lavishly printed (and expensive) book promises a consuming elegance that sweeps you away. It has star power too, with one of the leading personalities none other than Graham Nash of Crosby, Still & Nash fame. It also includes rich and very personal histories of the birth and labored growth of the digital printing service company, of permanence in various photographic media, and of photography itself as a medium of expression. The book also includes images by a broad selection of visual artists spread throughout in an eclectic smorgasbord.
But there are a few elements that detract somewhat from the book's rich objectives. With several authors contributing, certain parts of the story get repeated - several times in fact - and the tone at times begins to sound slightly obsequious and self-lauding, to the point that one is led to the impression that Nash Editions (the company) was pretty much the sole entity that dragged digital printing from practically nothing in the early 1990s to it's high level of sophistication and acceptance today. While Nash Editions can certainly claim historic "firsts" in several categories within the digital printing revolution, a thoughtful person might wonder if there weren't just a few other significant contemporaries working toward the same goals. And on a purely technical note, one of the sections of the book ends in the middle of a paragraph, leaving the reader guessing as to the intended conclusion; perhaps a little tighter editing would have been helpful.
So, should you buy this book? Yes, if you're a photographic artist interested in the history of the digital printing process or the concept and science of photographic media permanence. And of course it will serve too as visual stimulation and a contemporary two-dimensional artwork study; one can learn a great deal by looking carefully at other artist's work.
Not how to do it but how it happened.......2007-03-31
Although I knew roughly of Graham Nash's involvement in the early days of digital printing I did not know the detail. Having been fooling around with digital printing about as long as Nash, but without his money or expertise, I found the book fascinating. This book will not tell you how to get the best print, but it does tell the story of the people who had the vision and knowledge to start it all off. A good read with some good essays by photographers who were involved. I think that it is a worthwhile addition to my photographic library. An eye opener to those who just push the button and a good print comes out.
A beautiful work..........2007-01-15
Most of the time when you view photography, you think about the image and composition, not the process of how the image is put on paper. In Nash Editions: Photography and the Art of Digital Printing by Nash Editions, you'll think more about the printing process than usual. And there's some really stunning photography, to boot!
Contents:
Introduction - Graham Nash
The History of Nash Editions - R. Mac Holbert
The Four Stages of Photography - Richard Benson
A History of Permanence in Traditional and Digital Color Photography: The Role of Nash Editions - Henry Wilhelm
Selected Bibliography
Acknowledgements
Index
This book consists of four essays centered around the process of image creation on paper. Nash Editions focuses on the creation of high-end digital image printing, and as such has learned a lot about the process and history of how photos are transferred to paper. From the chemical-heavy techniques of the early days of photography to the digital printing processes of today, you'll gain insights into issues such as color fidelity and permanence. I now know why all those pictures of the sixties faded out so badly... The more visually stunning part of the book consists of the large number of images throughout the book. From black-and-white landscapes to portraits to abstract compilations, each page turn gives the reader another treat to ponder and enjoy. Very beautiful compositions... If this were a hardbound book, it'd be a classic "coffee-table" book. As a paperback, it doesn't have quite the same outward impact as other books similar to this. But it definitely holds its own in terms of content.
This is a book that any serious photographer would enjoy owning...
Book Description
135 fantastic and grotesque scenes depict the passion and grandeur of one of Dante's most highly regarded works — from the depths of hell onto the mountain of purgatory and up to the empyrean realms of paradise. Includes plates produced for The Inferno, Purgatory and Paradise. Illustrations accompanied by appropriate lines from the Longfellow translation.
Customer Reviews:
Dore Illustrations.......2007-04-11
Book arrived in promised condition, and in a timely fashion. I would buy from this seller again.
Skip this comic book.......2007-01-21
This guy is pretty much in the same league as Jack Kirby. Whereas Kirby's all soft lines and images pancaked on the page, Dore looks like he's carving his cartoons into a tree. And all these scary demons and things look tired, like they've been running marathons all day. The victims kind of look like they're enjoying it, so I guess if you're into S&M, I could recommend it. Me, I prefer "Spawn" by Todd McFarlane. The Violator? Now that's a monster you can sink your eyeballs into. And I know it's like super-uber hip, but I don't know why these illustrators feel they are so special when they work exclusively in shades of black. Like my momma used to say, "A little rouge really accents the cheekbones."
An Excellent book for the Doré or Dante lover.......2006-08-01
The quality of this book - along with an amazingly affordable price tag - quickly persuaded me to pick up a copy. Its really everything you could ask for in an art book;
The pictures are all very big, but not overwhelming; Its easy to see minute detail, and the overall scope of the image. I actually blew up some of the prints in photoshop and printed them on huge poster paper for my room, while not sacrificing a drop of detail.
Also, I had to put quite a good deal of pressure onto the spine of the book in order to get a good scan from them, and im happy to say that doing so didn't even leave an annoying "bookmark" crease in the book, and the spine didn't even crease. Dover books really did produce a fine quality book, and the note on the back really is true: This book IS permanent.
If you have read or are reading the divine comedy this book is a great reference to glance at every now and again to truly suck you into Dante's epic poem, and bring you to the Heights of Heaven, The Depths of Hell, or the pain of purgatory in a way you could never have imagened.
The woodcuts done here by dore are so elaborate and vivid you could spend a good portion of a day just gazing into the faces of cursed souls writhing in hell, or the beauty of millions of angels soaring in the highest heaven. Dore illustrates every picture so full of movement and depth its the next best thing to a movie.
Absolutely Wonderful (Really 4 and a half stars).......2006-06-07
I have looked at a variety of Dante artists. Some well known and some are not. Suloni Robertson, John Flaxman, Willam Blake, Sandro Botticelli, Sandow Birk, Herb Roe. Do a google search to look at the works of some of these like Sandow Birk. There are some that are more obscure which in a way documents the Comedy, more specifically the Inferno. I'm not going to say who I don't like but Dore is the best. I am rather specific about artists. Dore makes the grade. He is good, really good and when you look at this book, you feel like you are in the terrible depths of hell. I like purgatorio too. I feel the religious prayer songs in my head as I see Beatrice's entrance. There is so much symbolism in these pictures, especially in Paradiso. Though I do disagree with the depiction of Muhammad in hell, the rest is fantastic. I mean that he looks more like he's British then Middle Eastern. I imagine him with blonde hair in the plate. The tortured look on Dante's face in the plate with Betrand de Born, (The cover pic) is extraordinary. I felt how he felt. That is why Dore is so good. I had also hoped for more detail with Ugolino because his story is fantastically horrifying.
The book is a must for any Dante fan. I look at it a lot, even if I have seen the pictures hundreds of times. I really don't think that you can get bored with this. There is always something new to look at. Some detail you looked over. Buy this book because the scans online don't give the justice that this book has. Buy it, look it over, get inspired by it. Maybe we will see your work on Amazon in the near future.
The Dore's Illustrations for Dante's Commedia are great........2006-03-15
The Illustrations from the 1st canto in the Inferno to the last of Paradiso are great because they help as a visual aid when reading the Divina Commedia. One can really see how and in which ways Dore, when he design the illustrations, followed the text very closely.
Book Description
The Print is the third and final book in The Ansel Adams Photography Series--the seminal guides fully revised by Ansel Adams shortly before his death in 1984. The Print, now available in paperback like the other volumes in the series, belongs on every photographer's shelf. It covers the entire printmaking process, from designing and furnishing a darkroom and experimenting with your first print, to mastering advanced techniques such as developer modifications, toning, and bleaching, and burning and dodging. This thorough guide is filled with indispensable darkroom techniques and tips, and amply illustrated with photographs and technical drawings. It is an indispensable tool for mastering the complex art of photographic printmaking.
Customer Reviews:
with great knowledge comes great responsibility.......2007-06-27
Ansel Adams is the master of photography, black and white, but still photographic principles and concepts have been throughly tried and tested by him and he teaches you so much in his series starting with "The Camera" and ending up with this book which focuses more on the final piece. The 2nd book in the series is also so very crucial because it outlines and describes his "Zone System" in great detail. A must have for any avid photographer and a great shelf reference for any professional. Now go out and shoot.. waste some film for crying out loud and get some awesome shots :)
A great reference book for almost any photographer.......2007-06-19
In this third part of Adams' technical writings, you'll find a guide to go from what a camera recorded (it talks about a negative, but can be well applied to a digital raw file) to a fine print delivering "what you saw and felt" to the viewer.
Even if it applies to B&W, I find that much of the content can be applied to color work if you think a bit more about it - mostly now, in the digital age with separated luminance and chrominance controls.
You'll also read some good ol' kitchen recipes about developers and toning... These will be less and less useful, but can bring back the smell of the darkroom to your memory ;o)... And quite often, the principle that based the recipe can be applied to another media.
A reference, whether shooting film, digital or glass plates (and of invaluable interest for the two former).
content excellent, one little remark for the publisher........2007-04-24
The book is excellent. Although these techniques are not widely applied today, with appropriate experience and thinking this knowledge can be applied and transferred to modern software like Adobe Photoshop. It can help relate modern and classic photography printing processes (traditional vs computerized).
One little remark would be for the publisher. The paper the book is printed is gloss with quite a high reflectance index. This results in making reading the book at certain angles quite impossible for your eyes.
This is great book.......2004-06-14
In this book, Adams said Expression is more important than reality, idea more important than fact, the print more important than its subject. For it is only in the print that such magnificence can be unfailingly orchestrated. Those words made me think that what is good photograph. The book opens with a thoroughly enjoyable, albeit brief, history of photography before getting down to explain printing techniques.
The majority of the text concentrates it's efforts in educating the reader in the art of B&W photography. This book tells readers that what are good prints making techniques. After reading this book you will feel like that your printing skills are very improved. The reader will see many wonderful pictures as examples, that will surely create a better impression as to what type of pictures Adams takes.
Excellent Book for any Serious B&W Photographer.......2003-12-25
This is one of a few books in this Ansel Adams series. He discusses a number of aspects of the print, it's limitations, and many techniques that can be used to exploit print characteristics. I highly recommend this book to anyone who is at all serious about B&W photography whether developing your own prints or not.
Book Description
The art of monotype has experienced a surge of popularity in recent years, and artists working in other mediums will enjoy exploring the creative potential this process offers them. A brief history of monotype is followed by a comprehensive chapter on materials. The step-by-step instructions are accompanied by some of the finest examples of monotype being done today.
Customer Reviews:
Questions answered.......2007-03-25
This book answered many questions that other artists and I were asking regarding monotype. It gives you permission to proceed in any direction, using any materials you choose.
One for the reference shelf.......2005-09-20
I'm so glad I bought this book. It is one of those I take down regularly. The author thoroughly understands monotype in many mediums. A previous reviewer mentioned how well the toxicity issue was dealt with. Lots of good color illustration.
Great book for monoprinting.......2004-12-29
I agree with the previous reviews - if you're creating monoprints, and particularly if you're looking for non-toxic methods, this is a great book. It's full color with many inspiring illustrations, and full of useful, practical information written in a friendly, down-to-earth manner.
Re. recommended paints: I recently had the pleasure of taking a monoprinting class with Julia Ayres and her daughter Gail Ayres (at the Art Methods & Materials Show in Pasadena, CA, Oct 2004). The Ayres now recommend using the new Akua-Kolor waterbased inks by Rostow & Jung (www.waterbasedinks.com) which I assume were not invented at the time this book was originally printed. The advantage is that these inks are non-toxic, clean up easily, and they stay moist for days. You then print to DRY printmaking paper, and the inks dry instantly once they hit the paper. Now you don't have to worry about the inks drying on the plate, or handling fragile, wet paper. (I shoved my Createx paints in a bottom drawer after the workshop!)
(If you get the opportunity, take a class with the Ayres if you're just getting started, as there's nothing quite like seeing the process in action and the book will make even more sense! They also teach using the PinPress Roller for making monoprints by hand; very useful if you don't have access to an expensive printing press.)
Great demonstation of incredible effects using monotype.......2002-04-29
There seems to be very limited information available on the technique of monotype. This book fills that void by demonstrating the incredible variety of effects possible using the monotype method. There are no projects, per se, rather it teaches techniques that help you create your own masterpieces. Many pieces of example artwork are found throughout the book.
A monotype is a one-of-a-kind print made by transferring a painted image to paper. The book starts out with an introduction to materials including plates, mediums, solvents, panting tools and paper as well as hand and press transfer equipment. It also covers studio safety and finding workshop facilities.
Techniques are next including working into a light or dark field and both hand and press transfer.
These include step-by-step instructions accompanied by demonstration photos. Working in specific mediums including watercolor, acrylics, water-soluble writing instruments, monoprint paints (Createx), oil paints, water-based oils and alkyds follows. A section discussing special oil-based printing inks for lithography, etching, printing and serigraphy is also here. There is even a chapter on special techniques including using masks & stencils, embossing and creating collages.
The final chapter gives an overview of monoprints, which combine monotype with other print making processes, and mixed-media monotypes. This includes intaglio, drypoint and engraving, as well as linocut and collagraphic monoprints.
There is a nice list of suppliers as well as interesting biographical notes on the artists featured in the back. This is a great book that displays the great diversity in mediums and results available with monotype.
Great Resource and Guide.......2000-02-07
This book is a valuable resource of methods used in making monotypes. Ms. Ayres reviews every aspect of making a monotype from the tools, the ink or paint, and the process of transferring the image. All the printmaking terms used when describing this art are expertly explained and illustrated. It is clearly not a medium restricted to artists familiar with printmaking. The work of many artists are presented along with the ingenuity they have used to transfer their work. A very valuable resource book both for the artist and those wishing to learn more about this art form.
Customer Reviews:
Wonderful guide.......2007-09-01
This book is a wonderful guide to those experienced photographers who are looking for something "new" to try. As mentioned, it is not an exacting process; there's a lot of trial and error involved. It is also important to note that the chemicals (ammonium or potassium dichromate) are dangerous. They can be ordered through The Photographer's Formulary. Mr. Scopick's directions are not overly scientific but will help you on your way to understanding this relatively simple non-silver process. When done correctly, these prints are totally archival.
It is a gorgeous printing process. You won't get the tonal scale of a platinum print, but you can choose any pigment color you want, which is great. You can also do multiple prints of the same neg using different colors for a polychromatic print. It's a fun and rewarding process for anyone rediscovering the Pictoralist look.
Excellent book on an interesting photo printing technique.......2001-02-15
I've had this book for quite a few years. It's a really good reference and instructional book on how to do gum bichromate printing for black and white negatives.
Normal photographic printing is done on silver bromide paper; the photosensitive silver crystals make the black of the print. In gum bichromate printing, chromate is used in a gum emulsion mixed with colored pigments to harden under light exposure. (I'm trying to stay away from the chemistry here.) After making a negative to use for contact printing, the negative and coated paper are exposed to light. Where light penetrates your negative, the gum-chromate-pigment mixture hardens and stays on the paper. Where not exposed to light, the solution washes away.
This isn't an easy technique, but is a very lovely one, and even more interesting when mixed with other techniques like cyanotype. It's also possible now to use laser printer to produce some of the contact negatives you need.
The only caveat I must add is that chromium compounds are TOXIC. So if you are not experienced at handling chemicals, this technique is NOT for you and your home darkroom. However, if you have experience in good lab technique and know your way around a darkroom, this is a very alluring technique to make some wonderfully, almost hand-colored looking prints. This fits in especially well with the current interest people have in handmade books and journals.
Book Description
Maurits Cornelis Escher was a truly unique artist whose vision was quite unlike anyone else's. To enter his world is to set foot into unknown and unsettling territory.
His extraordinary pictures of logic and perspective fool the brain into believing the impossible- that staircases can climb forever, that fish can morph into birds, and that water can run uphill. Enter the world of MC Escher in this truly unique collection of his work, encompassing over 70 full-color pictures
Customer Reviews:
stark, gigantic, modern, you need a table to read this book.......2004-05-29
My appreciation of art has been so influenced by the power of photography to capture things as I see them that I fail to see the works of M. C. Escher as being very artistic. If art is supposed to show the power of human beings to capture the essence of objects as we see them, Escher seems to be trying to show us things we could never see, but that try to be art like cinnamon rolls that come from a refrigerated can of dough and icing might try to replace real cinnamon rolls in our lives. Of the eight small pictures shown around the weird building topped with stairs and a tiny tower on the cover of M C ESCHER by Sandra Forty published by TAJ BOOKS 2003, a square near the lower right corner looks like a swirling combination of reptiles cooked up from splotchy shapes as a pattern emerges from the 10 x 10 squares around the edges, the shape of which suggests a pan of something from the oven.
I was introduced to the work of M C Escher about 33 years ago, after I was an adult attempting to understand the ways in which highly educated people understand the world. Or, in the case of M C Escher, there seems to be real questions about what people are doing here at all. On the stairs at the top of the building on the cover, the outer 14 hooded walkers seem to be climbing, holding the outer railing in their left hands, while the 12 inner walkers pass them descending the stairs with their left hands on the inner railing. The inner courtyard does not appear to be square, because the front wall is so much longer than the back, but due to perspective, each step appears to be higher or lower than any other step.
Maurits Cornelis Escher lived from 1898 to 1972, about the span of life of my grandparents, and page 5, which contains that information, also shows "House of Stairs" (my favorite Escher design) in the center of that page, though a larger copy, Plate 40 on page 51, is the same picture at about 6 inches by 12 inches. There are only a few pages in this book that don't have pictures on them. At the top of the pages of text up to page 11, there is a thin strip reproducing a long mural called "Metamorphosis" that is mainly black and white with a little color where a sky full of flying birds transforms into a city by a waterfront with a little bridge to a castle sitting on a chessboard. Escher did a lot, he "left over 2,000 drawings and 448 lithographs, woodcuts, and engravings. . . . His legacy is carefully guarded by the M. C. Escher Foundation at Baarn, The Netherlands." (p. 5). It is not surprising that this book contains some pictures that I did not have before. In the case of Plate 47, "Plane Filling Motif With Fish and Bird," (p. 58) I quickly saw four fish with eyes like circles, but it took me awhile to see a bird in the center between them, with an eye that looked like the number "6" which first seemed to be a cartoonish swirl to depict motion in whatever the fish were swimming in. There is nothing realistic in that picture: it looks more like a ragged potholder than a photograph, but the page is so black it can't be anything but ink on a page, which is what it is.
Escher's work is not totally devoid of women. One in a white dress is walking into "Convex and Concave" in Plate 56 (p. 67). Plate 7 shows "Jetta (Escher's wife)" 1925 woodcut 49.2 x 27.8 cm, looking very proper, with a collar that extends from shoulder to shoulder, holding a flower in front of a dark outfit that shows nothing of her figure, with her eyes lowered so that she can only see the flower if she is seeing anything. Her hair is neatly parted, but a tiny curl is visible by one temple. The picture is so black and white, the impression is that only her face, the flower and her hand are white, while her collar, neck and aura are trying to reside somewhere in between the light and the mystery where the shadow of her nose meets the edge of her lips. People who have worked with wood and a gouge will be able to detect each cut in the wood, and the only thing which is stark about the picture is that his use of technique is so visible.
A famous design, Plate 51 "Gravity" 1952 Lithograph and watercolor (p. 62), shows orange, purple, green, yellow, red, blue creatures standing on star-shaped planes with a point over the back of each creature. One point is a bit off center, with the five points of the plane on which the yellow creature is standing close to the edges of the picture, though five more points offset in the background suggest that the shape continues around to the other side. The creatures are arranged so each is shown from a different angle, each facing in a unique direction, but each seems to reflect the same dull recognition: I Know, I know, i know, i . . .
Book Description
Tim Rudman's first book on lith printing, a specialized method of photographic printing that produces strongly graphic or exquisitely delicate prints, is the canonical work on the subject. Inevitably, since it was first published in1998 there have been significant developments in both materials and techniques for traditional-lith printing, as well as the introduction of digital methods, used to simulate the process or expand its creative potential.
Now Rudman follows his classic text with an insightful and informative exploration of lith printing today. In addition to his own work, he includes many examples by leading practitioners from all over the world, who show the whole range of effects that can be achieved by adopting a wide variety of different approaches.
Customer Reviews:
WOW.......2002-06-26
As a person from the northeast (staten island new york to be exact) I was never interested in fishing or it's culture. But upon reading and veiwing this book I was amazed. I thought fishing was a redneck back woods thing, but Mr. Olander's paintings show life and show diversity and opened a new door up for me. WOW! My personal favorite is on page 32, of the tripletail, again WOW!
a western perspective on a japanese technique.......2001-10-01
A beautiful book. I picked up this book out of curiosity and was impressed by the quality of the prints themselves. It made me want to go out and print some fish myself. My only complaint is that I wanted to see some more detailed writing on technique, though his comentary (on each print) in terms of the different breeds and catching of the fish involved was entertaining and disarmingly free of pretentions.
nicely laid out book.......2001-05-05
Olander's book exhibits excellent promotion and hype, not skilled fish prints. Although he uses color fairly well, the technical aspects of his printing leave a bit to be desired, and design elements are lacking. It's a shame that this book is used as an example of fine printing, when it is not at all. For some excellent and stunning fish prints, check out the website of the Fish Print Factory in Japan. Although these are done in the indirect method vice Olander's direct, there is an exemplary use of color, shading, tones, balance, and design.
A Showcase for a Beautiful Art Form!.......2000-07-06
Doug's talents leave me speechless and dewey-eyed with awe. Not only did I become so enthralled that I am trying to take up gyotaku myself, but I simply HAD to own one of his paintings - and now I do! After trying this art form myself, I am even more humbled by his incredible talents; he truly brings these beautiful fish back to life in front of my eyes! I loved the book; it is a frequent source of inspiration for me!
lots of gorgeous prints, very little technical info.......2000-02-29
If you are looking for technical information regarding gyotaku, this book will not help you much at all. In that case, you will be much better served by considering Bethmann's "Nature Printing with Herbs, Fruits & Flowers" which has a small gyotaku section. If you are looking for examples of artistic presentation of gyotaku prints, this book provides 53 color plates of fish prints done by the author. That's not what I was looking for (sigh).
Average customer rating:
- Teaching Aid
- Covering Kollwitz
- SEED CORN MUST NOT BE GROUND- NO MORE BABYKILLING
- Pictures of Reality
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Prints and Drawings of Kathe Kollwitz
Kathe Kollwitz
Manufacturer: Dover Publications
ProductGroup: Book
Binding: Paperback
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Similar Items:
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Kathe Kollwitz
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Drawings of Kaethe Kollwitz
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German Expressionist Woodcuts (Collections of Fine Art in Dover Books)
-
Diary and Letters of Kaethe Kollwitz
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KATHE KOLLWITZ: WOMAN AND ARTIST
ASIN: 0486221776 |
Book Description
83 moving works: The Weavers, Peasant War, War, Death, and others. "To see the beautiful examples of her work reproduced in this well-printed, reasonably priced volume is to sit at the feet of a great modern master." — School Arts.
Customer Reviews:
Teaching Aid.......2007-03-12
This book is a great teaching aid for drawing and the transition from drawing to print processes. Great examples of the simplicity of marks necessary to create a form or mood recognisable to all. It is as much about what is left out as it is about marks made. Very dark subject matter delt with in a sensite way, a must for all for teaching and inspiration.
Covering Kollwitz.......2006-11-13
This large-scale volume does a very nice job of covering many of Kollwitz's finest works...and at a very nice price, thanks to Dover Publications.
SEED CORN MUST NOT BE GROUND- NO MORE BABYKILLING.......2006-08-02
Kollwitz was hated and persecuted by Hitler for taking the underside of humanity. She presents the real effects of modern warfare upon our defenseless civilians women and children. She presents the weary face of defenseless despair under relentless attack. She is the face which must be seen, like the courageous and proud Frida Kahlo, yet hers too weary for pride and fierce resistance.
Get this book and LOOK . . .
Pictures of Reality.......2000-04-23
Kathe Kollwitz shows real people dealing with the real problem of the Second World War. Her drawings are poignant reminders of the love and humanity that can exist in the midst of madness. She is also not afraid to show the horror of the war and the tolls it takes on its victims.
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